Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Croatia and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Kings Of Tomorrow to the funk kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by David McCallum. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
The Mojo Men,
Swell Maps,
Bobby Womack,
The Cure,
Derrick May,
Albert Ayler,
Parry Music,
The Techniques,
Public Enemy,
Funkadelic,
New York Dolls,
Inner City,
Niagra,
Desert Stars,
Prince Buster,
Royal Trux,
Theoretical Girls,
The Martian,
Glambeats Corp.,
Graham Central Station,
Tropical Tobacco,
The Peanut Butter Conspiracy,
China Crisis,
a-ha,
K-Klass,
New Age Steppers,
Blossom Toes,
Terry Callier,
Babytalk,
Liaisons Dangereuses,
Can,
Ajijia Myrayebe,
Procol Harum,
The Smoke,
Simply Red,
Patti Smith,
The Barracudas,
Aural Exciters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lonnie Liston Smith,
Saccharine Trust,
Brass Construction,
Crooked Eye,
Idris Muhammad,
Thompson Twins,
Television Personalities,
Sonny Sharrock,
Nick Fraelich,
FM Einheit,
Delon & Dalcan,
Motorama,
Q and Not U,
Tubeway Army,
The Leaves,
Television,
Intrusion,
Lou Reed & Metallica,
Au Pairs,
Jeff Mills,
La Düsseldorf,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.